#gd200

Rhythm: The state news journal advert has a very specific taste that is accomplished through the rhythm of its serif design. Not included are the newspapers that had a consistency of the same serif font that flows through the entire journal, placing importance with middle indent titles.

Typographic hierarchy: The recycling posters were found next to the state journal advert, and they cover the idea of hierarchy quite well. Immediately anyone can recognize the text from afar, knowledgeable now of where to deposit their waste, and upon coming closer to do so, they might be able to read more info about what kind of recyclables are allowed and not allowed. 

Ascender: I like how the ascenders in Skyvue’s journal follow an almost perfect symmetry with their ascenders, with some exceptions like the ‘k’, which gives it a more humanistic feel

Descender: This one was hard to find, not many fonts like to use descenders, rarely were they around in posters, but this sanitation station included manty descenders in the lower case letters.

Counter: This paper towel dispenser had many round, counter shapes in the letters, notably a lower case ‘e’ is used when normally it would likely be occupied by an uppercase ‘E’. Gives it a soft feel, while staying formal, makes me feel like they’re green or something.

Crossbar: The ‘A’ in ‘Catan’ splits the letter in half, x-height and ascender height is somewhat equatorial.

Large X-Height: The font used for this calendar features very tall X-height that makes the ascenders feel squished, and somewhat forced and rushed. This makes all the characters feel very tall, and the font has some sense of masculinity to it.

Small x-Height: Rubbermaid features a smaller x height than most examples I found, making it stand out as unique. The ascenders of the letters take up a lot of the room of the font, making them seemingly tower over the rest of the word, which feels somewhat harmonious, as the first and last letters both become the tallest letters in the word, and feature characters with ‘mirror’ image shoulders (the R and the d).

Modernist: The STOP sign has a very simplistic, sans-serif appeal that seems to stand out quite well. It cements itself very sternly, and has become a universal symbol. Modernists would classify this as modern design due to the lack of serif and prominent use of negative space (the red background contributes a lot to the connotation of the font)